Sunday, October 23, 2016

Diana talks to ... Catherine Kullmann


Catherine Kullmann—Short Biography


I was born and educated in Dublin. Following a three-year courtship conducted mostly by letter, I moved to Germany where I lived for twenty-five years before returning to Ireland. I have worked in the Irish and New Zealand public services and in the private sector. My husband and I have been married for over forty years. We have three adult sons and two grandchildren.

I have a keen sense of history and of connection with the past which so often determines the present. I am fascinated by people. I love a good story, especially when characters come to life in a book.

I have always enjoyed writing, I love the fall of words, the shaping of an expressive phrase, the satisfaction when a sentence conveys my meaning exactly. I enjoy plotting and revel in the challenge of evoking a historic era for characters who behave authentically in their period while making their actions and decisions plausible and sympathetic to a modern reader. In addition, I am fanatical about language, especially using the right language as it would have been used during the period about which I am writing. But rewarding as all this craft is, there is nothing to match the moment when a book takes flight, when your characters suddenly determine the route of their journey.




Catherine, I am sure that you are tired of being asked the usual questions that would be interviewers ask authors, so hopefully this interview is an interview with a difference and I have come up with some unusual questions!

If your latest book The Murmur of Masks  was adapted into a TV show or a film, who would you like to play the lead roles?

Kate Beckinsale and Aidan Turner

(Note from Diana: I know a lot of laydees who will watch if Mr Turner is involved!!!)

If, as a one off, (and you could guarantee publication!)  you could write anything you wanted, is there another genre you would love to work with and do you already have a budding plot line in mind?

Before the HNS Oxford Conference I would have said no, but after Christian Courtney’s and Anna Belfrage’s inspiring presentation I am tempted by the idea of timeslip. It is very early days yet, however.

(Note from Diana: Yes. It was totally amazing and inspiring.)


Do you have any rituals and routines when writing? Your favourite cup for example or ‘that’ piece of music...??

I need silence and regular cups of tea. I start by reading and editing what I wrote the previous day and follow on from there.


What is the worse book you have ever read? The Da Vinci Code

What made it unreadable for you? Too much superfluous content, including endless, tedious descriptions of place.


Other than writing full time, what would be your dream job?

There is no other. I have retired from my day job and hope to continue writing until I keel over at my desk.


Coffee or tea? One large coffee in the afternoon, otherwise tea.


Red or white? Whatever matches what I’m eating. Frequently it is a chilled Rosé as we love Mediterranean food. (Note from Diana: Me too! For me The Med is about the food!)


If you had free choice over the font your book is printed in, what font/fonts would you choose?

Fairfield, which is an old-style serif typeface designed by Rudolph Ruzicka and released in 1940. I have one book set in it; it is very elegant and makes for a very pleasant read. I also love the uneven page edges you get in some American hardbacks and decorated hardback covers instead of a dust jacket.

(Note from Diana: My business and consequently full time job, is selling vintage printing equipment. That is a totally wonderful choice and I applaud your excellent taste.)


Imagine that you could get hold of any original source document. What would it be?

A complete bound set of La Belle Assemblée for the period 1810 to 1820.

(Note from Diana: Wow! Yes! If you can, may I read it, please???)


Historical fiction authors have to contend with real characters invading our stories. Are there any ‘real’ characters you have been tempted to prematurely kill off or ignore because you just don’t like them or they spoil the plot?

This is not an issue for me. While real people sometimes have walk-on parts, for example Lord Byron and Colonel Colborne in The Murmur of Masks, my characters and their stories are pure fiction.


Are you prepared to go away from the known facts for the sake of the story and if so how do you get around this?

No. I enjoy the challenge of having my characters live in a real world shaped by known events and the constraints imposed by society in that time. I think that this sinking into the past is partly what attracts readers to historical fiction.


Do you find that the lines between fact and fiction sometimes become blurred?

Of course, especially when you insert your character into a major event such as the Battle of Waterloo. Unless you are writing alternative history, it is important to remain as true to the original as possible.


Have you ever totally hated or fallen in love with one of your characters?

No. I try to understand them and sometimes think I am too nice—I have had to go back and make my baddies more unpleasant.


What do you enjoy reading for pleasure?

As I am immersed in the Regency world when writing or researching, I tend not to read novels set in that period although I love Naomi Novik’s Temeraire series. I like historical fiction set in almost all periods and also futuristic/paranormal/alternative history but not straight science fiction.


What drink would you recommend drinking whilst reading your latest book?

A glass of dry Madeira.


Last but not least... favourite historical author?

This was so difficult to answer. I have picked three favourites whom I hope will write more books; Gillian Bradshaw—I love her novels set in the ancient world, Ariana Franklin’s Mistress of the Art of Death series—I hope her daughter, who finished the last one, will continue with them, and Jill Paton Walsh’s splendid resumption of Dorothy L Sayer’s Lord Peter Wimsey books.


Thank you, Catherine. I really enjoyed this.



© Diana Milne July 2016 © Catherine Kullmann September 2016







Tuesday, October 18, 2016

When the earth moves under your feet, a blog post by Richard Abbott

In Britain, we're used to history - and historical fiction books - where the terrain is basically the same as today. The human presence on the surface might well change, so that towns and cities grow, old buildings turn to ruins, rough tracks turn into railway lines, and so on. Or we might alter the clothing of vegetation - marshes are drained, forests felled, or fertile land turns to peaty bog. But we generally feel here in England that the bones of the landscape itself remain the same on a human timescale. We expect the land to change form only over geological timescales.

Mt St Helens before and after (USGS images)
Other people though, in other parts of the world, have a different expectation. Earthquakes, volcanoes and tsunamis can not only cause loss of life or damage to property, but can reshape the terrain. Mount St Helens was reckoned to be one of the most attractive of the Pacific Rim volcanic cones until May 18th 1980, when the eruption removed over 1/8 of the volume of the former cone. Iceland gained a new island in November 1963, when Surtsey emerged from the waves as a result of subterranean action.

But often we Brits think of that as something which happens in other lands. But actually there are signs of change in counties like Norfolk and Lincolnshire. Near to Cromer, several villages named in the Domesday Book or other more recent records are now up to half a kilometre out to sea. There is evidence that the Lincolnshire coast was, until the 13th century, protected by a chain of offshore barrier islands. The demise of these in a series of storm surges drastically altered the coastline and its vulnerability to the sea. But despite these signs here in our own land that our not-so-distant ancestors walked across a different landscape, it takes a bit of adjustment.

The geology is quite straightforward. During the last ice age, a little over 10000 years ago, a hugely heavy layer of ice pressed the land downwards, to a greater degree in the colder north than the warmer south. When the ice melted, two things happened. The sea level rose because of extra water. But also the land shifted. The land in places where the ice had been heaviest started to lift up. Outside that, further south, it started to sink down. Try placing a heavy book on a soft cushion and you'll see the effect in action.

Now, 8000 BC is not all that long ago, really - the Neolithic Age, and so the beginnings of recognisably complex society started not all that much later, around 5000 BC. And although the vertical movement of land in any one year is tiny - perhaps a few millimetres - over the course of a century it adds up. Our Neolithic and Bronze Age ancestors in some parts of the country experienced quite different terrain.

Aerial view of the Scilly Isles (Wiki)
In the north, where the land has lifted, we find settlements which used to be on the coast now stranded well above the waterline. Stone circles at the southern end of Coniston Water, in Cumbria, used to be close to an arm of the sea reaching in from Morecambe Bay, but are now over five miles from the coast.

But in the far south, in the Scilly Isles, we see an even more dramatic change as the land sinks down. During the Bronze Age, when many of the prehistoric monuments were being built, there was basically a single large island. Around that, especially to the west, there were a few scattered outposts including what we now call St Agnes, Annet, and the Western Isles. The whole central area, now a submerged area in which quite large vessels can anchor if they find the deep patches, was then a fertile plain supporting crops and animals.

Tidally submerged field wall, Samson, Scilly Isles
All that has gone - perhaps spawning tales of Lyonesse or Atlantis - but its passing has been recorded in history. Even now, low tide allows careful explorers to go well beyond the shoreline, disturbing herons and other wading birds browsing what has been left in the seaweed and rock pools. You pass by the remains of stone walls which presumably served as boundary markers, but are now submerged much of the time. At especially low spring and autumn tides, tall people can still cross between most of the islands without swimming - so long as you know where the sand bars and shallow patches are.

As well as simply projecting backwards the change in sea level, at a rate of 30 centimetres per century, we can look back at history. We know that in 1127, Tresco and Bryher were still a single island, with the two names referring simply to internal parish divisions. By 1600 they were separate, and the Grimsby Sound between them had become a sheltered haven for ships. The transition did not take many generations, and you have to wonder what the occupants made of the stories of their ancestors.The central area between St Mary's and the northern cluster of islands probably flooded around 6-700AD. On the other side of the country, ship burials were happening at Sutton Hoo.

But a change of 30 centimetres per century disguises the more dramatic way in which these events unfolded. This figure comes into perspective when you remember that the tidal range in a big spring tide on Scilly is around six metres. During a winter storm, waves coming across the Atlantic sometimes break over the top of the Bishop Rock lighthouse, some fifty metres high. The changes to separate island from island have not always been the result of a steady trickle of rising water; some will have been dramatic, cataclysmic events.

Samson, Scilly Isles - still one island at present...
This continues to happen today. It used to be reckoned that there were 146 islands in the archipelago, where an island is defined as a body of land separated at high tide and able to support vegetation of some kind. A few winters ago, this became 147, when a severe storm broke through a thin land bridge at Rushy Bay, Bryher, and converted a peninsula into an island. You look at some places as you walk around, and wonder how long they will remain attached.

From a fictional point of view, these kinds of gradual changes to the land itself offer a new storytelling dimension. Authors have explored - and I hope will continue to explore - sudden changes like the eruption of Vesuvius, or various earthquakes. Gradual change has not, I think, been used nearly so often. It could perhaps make for an interesting historical plot based on prehistoric Doggerland, in today's North Sea. Or a speculative fiction story where diminishing land serves as a variation on resource failure. It's worth remembering that the terrain we see today is not eternally fixed - even in this green and pleasant land - and has its own changing history.

About the author:
Richard Abbott is one of the reviewers at The Review, and lives in London, England. He writes science fiction about our solar system in the fairly near future, and also historical fiction set in the ancient Middle East - Egypt, Syria, Canaan and Israel.

When not writing words or computer code, he enjoys spending time with family, walking, and wildlife, ideally combining all three pursuits in the English Lake District. He is the author of In a Milk and Honeyed LandScenes From a LifeThe Flame Before Us - and most recently Far from the Spaceports. and Timing. He can be found at his website or blog, on Google+GoodreadsFacebook and Twitter.

Sunday, October 16, 2016

Diana talks to ... Pam Lecky

I was luck enough to be able to chat with the lovely Pam Lecky. Pam had just had some fantastic news. Her book, The Bowes Inheritance, had just been shortlisted for the Carousel Aware Prize 2016 for Independent Authors.

All of us here at The Review and all of our followers wish you the very, very best for this, Pam and really hope you do well.
Hi Pam. I am sure that you are tired of being asked the usual questions that would be interviewers ask authors, so hopefully this interview is an interview with a difference and I have come up with some unusual questions!
If your latest book, The Bowes Inheritance, was adapted into a TV show or a film, who would you like to play the lead role?

Wouldn’t that be lovely! If I could have a say in the casting it would be James McAvoy to play the male protagonist Nicholas Maxwell – I think he could do the slightly tortured and brooding scenes very well indeed. As the heroine Louisa Campbell is Irish, I would love to see an Irish actress in the role. Sarah Greene has the right look and would be perfect for the independent and feisty Louisa.
If, as a one off, (and you could guarantee publication!) you could write anything you wanted, is there another genre you would love to work with and do you already have a budding plot line in mind?
I adore crime novels and one of my current projects is in that genre. I’m a huge fan of Anne Perry, Deanna Raybourn, M.R.C. Kasasian – who all write Victorian crime and I grew up on P.D. James, Dorothy L Sayers, Ruth Rendell, and Elizabeth George.
I am finding the genre very challenging and the writing has taken on a different style, purely because that type of story demands it. My WIP is called The Carver Affair and is set in 1894 Dublin. It is the story of a Detective Inspector whose career is on the rise when he takes on what appears to be a very clear-cut case. But the murder takes him on an unexpected journey and forces him to face up to the ghosts of his past. Solving the case almost destroys his career.
Do you have any rituals and routines when writing? Your favourite cup for example or ‘that’ piece of music...??
I have to be able to visualise a scene before I can write it and there is nothing better than the right type of music to help you do that.  It would be generally classical music I would listen to when writing. Music also helps me when I get stuck, mainly because it helps me relax and the ideas start to flow again. I also have a tendency to come up with plot/dialogue either just as I’m nodding off to sleep or waking up – not very convenient I have to confess.
Apart from that, and it’s my biggest downfall, I tend to drink a lot (and I mean a LOT) of … tea. (Ah, but there is a such a thing as 'too much tea' ??? Hang on. I need to get the kettle on!)
What is the worse book you have ever read? What made it unreadable for you?

I’m not going to name it and I’ll tell you why. Now that I am an author I know how much goes into writing a book – the time, (the pain!) and often neglecting other areas of your life. You sacrifice a lot. I don’t post reviews for books I don’t like for that reason. You have to give the author the benefit of the doubt and maybe it’s just not my thing and others will really enjoy it.
However, if a book is badly written or is clearly an editor-free-zone, I will post a review - but it will be as constructive as I can make it. Too many Indie authors think that editing isn’t essential. Frankly, this baffles me. Recently I have been quite shocked to read traditionally published books that look as though an editor hadn’t been near them either. As an Indie author I know the cost of editing is high but I feel very strongly that if you are going to compete, you need your ‘product’ to be of a high standard and let’s face it; your reader deserves value for money too. Now, my rant is over J.
(I fully understand and empathise with everything that you say.)
Other than writing full time, what would be your dream job?

I would probably pursue a career in horticulture which I studied with the RHS. I designed and built a show garden a few years ago in Bloom, the Irish equivalent of Chelsea.
Coffee or tea? Red or white?

I think I have already answered the first one above! As for wine – neither just to be awkward – I prefer rosé.
If you had free choice over the font your book is printed in, what font/fonts would you choose?

As I’m Indie, I do have the choice. I generally use Garamond or Times New Roman in my POD books as they are easy to read. I use Times New Roman for Kindle as it doesn’t matter too much which font you use – the newer Kindles/Kindle apps let the reader choose the font they want. (As a seller of vintage type, this excited me so much when I first came across it!! A brilliant move forward!)
Imagine that you could get hold of any original source document. What would it be?
I actually did. My great grandfather’s shop and home were destroyed in the fires and looting in Dublin during the Easter Rising in 1916. I found his insurance claim to the Government in the National Archives. It was very detailed and gave a wonderful insight, both into his business and how they lived. It even included the very poignant item, ‘daughter’s trousseau’, listed as destroyed. The great aunt in question married a year later, hopefully with a new trousseau. Thankfully, the family was unharmed but it must have been a terrifying experience.  (Gosh!!!)
Historical fiction authors have to contend with real characters invading our stories. Are there any ‘real’ characters you have been tempted to prematurely kill off or ignore because you just don’t like them or they spoil the plot?
That didn’t arise in The Bowes Inheritance as all the characters were fictional. Some were based on real characters and real events drove the plot to some degree. I had to keep a balance between the politics and events of the time and the main thread of the story. It was important that the historical details didn’t swamp the main storyline which was a young woman’s struggle to be accepted in a new community that was predisposed to be suspicious of her.
Are you prepared to go away from the known facts for the sake of the story and if so how do you get around this?

I try not to. In The Bowes Inheritance I had to move one incident (time and place) to make the timeline work but everything else that happened was true to history.  I include the proviso at the beginning of the book that ‘Names, characters, places and incidents are the products of the author’s imagination or are used fictitiously’.
Do you find that the lines between fact and fiction sometimes become blurred?

So far that hasn’t been an issue for me as my characters tend to be fictitious with a background of real events. I have yet to include a real historical character in my work, other than in passing.
Have you ever totally hated or fallen in love with one of your characters?
In one of my unpublished stories (that may one day see the light of day!) one character I conjured up was quite wicked but his back story was such that he could not have turned out any other way. He was enormous fun to write but I had to kill him off. It was such a difficult decision. I couldn’t write that chapter for about a week and when I did, I think I actually grieved for him. I moped for days afterwards – I was genuinely upset! (I understand. I never was able to carry on with one MS as I knew Piet had to die, but I could not bring myself to be the one to kill him.)
What do you enjoy reading for pleasure?

I tend to read a lot of historical fiction – crime and romance – that is when I have the time. Unfortunately, trying to write and working part-time, means I don’t have as much reading time as I’d like.
I also read a lot for research – either history in some form or other (books/blogs, etc.) or fiction of the time. For instance, I have just finished reading James Plunkett’s Strumpet City (an incredible book, by the way) to get a feel for Dublin in 1913 during the Lock-Out.
What drink would you recommend drinking whilst reading your latest book?

Curl up on a window seat with the wind and rain lashing against the window, a roaring fire in the grate and a nice (large) glass of Baileys close at hand!
Last but not least... favourite historical author?

Georgette Heyer – she is unsurpassed for characterisation, attention to detail and humour. She is my writing hero.
This has been wonderful, Pam. Thank you very much. Shall we have that cup of tea now???
Biography: Pam Lecky originally hails from Clontarf, Dublin, and now lives in north County Dublin. A working mum with three children, a dog and two cats, her life is hectic. Pam studied horticulture with the RHS, loves music and photography, and has been an avid reader from an early age. A huge fan of historical fiction and crime, particularly when combined, she finally decided to set free the stories battling for release in her head. She has a particular fascination with all things 19th century, from food and clothes to architecture and social history. If there was time travel, she’d be the first to sign up and there are no prizes for guessing what time period she’d travel to.
The Bowes Inheritance is her debut novel, and is available as an ebook or paperback on Amazon. It has been shortlisted for The Carousel Aware Prize 2016 and was longlisted for the Historical Novel Society Indie Award 2016.
You can learn more about Pam, her book and follow her blog at Pam Lecky or follow her on Twitter @pamlecky.


© Diana Milne July 2016 © Pam Lecky September 2016

Friday, October 14, 2016

Hastings 950 - The Battle by Rob Bayliss

On Monday 25th September, just five days after their victory  at the Battle of Fulford Gate, King Harald III of Norway and his English ally Tostig Godwinsson were relaxed, camped eight miles east of York at Stamford Bridge. A cloud of dust was seen approaching on the road from the city. Harald and Tostig took it to be a delegation from the defeated Earls Edwin and Morcar bearing tribute and hostages. But the keen eyed among the host saw the tell-tale glint of mail and spear points.  King Harold II, brother of Tostig had arrived with the royal army from his watch over the English Channel.

A forced march of 180 miles in four days by Harold and his standing army of huscarls, collecting fyrd (militiamen) on the way, had caught Harald, the famed ex-commander of the Varangian Guard completely by surprise. Harald’s army would fight bravely, but the English victory over the Norse invader was utterly decisive. Harold had said that would only yield Harald “six feet of English earth or seven as he is so tall”. From a fleet of 300 ships only 24 were needed to ferry the defeated survivors home. Both Tostig and Harald lay slain.

The blood of the slaughter had barely soaked into the ground when word arrived to Harold’s ears that the much feared invasion from Normandy had taken place. Duke William had landed at Pevensey on the 28th while Harold and his forces had been in the north. It is thought that Harold was informed of this event during his march back south, which would account for the lack of Edwin and Morcar’s forces at the subsequent battle. Harold hurried back south to London and made his preparations for the most crucial and decisive of battles; the Battle of Hastings that took place on Saturday 14th October 1066.

The Normans land and establish their bridgehead - Bayeux Tapestry

The two armies that faced each other that momentous day would look similar but fought using different tactics.

Huscarl - Regia Anglorum
Although still a heroic society the English army had evolved from the days of warlords having retinues of hearth troops, although it retained an aspect of this tradition. The great lords of the day such as King Harold and the earls had their huscarls; the heavy infantry of the day, perhaps on a par with the famed Varangian guard in Byzantium. The huscarls had been introduced some 50 years earlier during Cnut’s reign. These were experienced professional warriors, possibly some of the best soldiers to be found in Europe at the time. They had taken the ancient tactics of the shieldwall and
developed them. Each huscarl would have a long hauberks of mail with a coif and conical helm with a nasal guard. They carried long kite shields and, as well as being armed with swords and throwing spears, they also were adept with the dreaded Danish axe. This was a fearsome weapon, it was able to break shields, lop off limbs and even decapitate a horse in a single blow.

Around this core were the fyrd. The fyrd system dated from King Alfred’s time. These were territorials who were bound to give two months service a year. They were raised on the basis on one man for every 5 hides of land. This raised around twenty shillings which would pay for the warrior’s weapons, armour and food. These warriors would probably have the more traditional round shields. In theory a king could call upon up to 20,000 fyrd, but such a number could never be raised at once due to the practicalities of communication and logistics at this time. As well as these semi-professionals Harold could also call on all freemen to his banners in a time of national emergency. Such men would have grabbed any weapon to hand, whether spear or scythe.

There are further factors effecting numbers available to Harold; the Southern Fyrd had been on duty all summer in expectation of the Norman invasion and had been disbanded due to the approach of harvest time. The pitched battle of Stamford Bridge would have caused great loss both to the huscarls and the fyrd who answered the call. Normally Harold would have had around 3000 huscarls, perhaps Stamford Bridge would have reduced this to 2000. Harold’s brothers Earls Gyrth and Leofwin would have approx. 1000 huscarls each. Perhaps the recalled fyrd that gathered at Hastings would be around 5000. So Harold would field around 9000 men, similar to the numbers William commanded.

The Norman army, despite their Scandinavian heritage had a more continental way of war. Norman society was feudal and at the core of their army were knights. The knights were granted lands with which to support themselves, and were required to serve their lord.  Like the Huscarls they would have long hauberks of mail, conical helmets with nasal guards and kite shields. However these were mounted heavy cavalry; the shock troops of the time, armed with lances, it is thought that William had around 2500 of these mounted warriors in total. As well as the knights the Normans fielded infantry, professional men-at-arms that weren’t landed knights and would probably be armed in similar fashion to the English Fyrd, these would be the bulk of the army, numbering perhaps 4500.  The Normans also had around 1500 dedicated archers using short bows to soften up an enemy prior to sword play.
Norman soldiers - Image from model-

The army was divided into three; William’s Normans in the centre supported either side by his subject allies, Eustace of Bologne and his Flemish forces on the eastern wing and Count Alain and his Bretons on the western.

The invasion itself was a marvel of medieval logistics. William had to gather around 500-700 ships to carry men, horses, equipment , and even a wooden castle in kit form, over the Channel. Encouraging his underlings and allies to help finance this operation speaks volumes for William’s reputation and powers of persuasion. He had to remind them of the terms of their tenure, but also convince then that such an operation was even feasible. True there was the promise of lands and plunder but due to the efforts of his advisor Bishop Lanfranc, William had managed to get a Gonfanon – a papal banner –  so the enterprise now had the blessing of Rome. This was no mere invasion, this was a crusade.
The invasion fleet had to wait almost a month until the tides and winds were favourable, it’s recorded that William only lost 2 ships during the crossing. Ironically one of these carried the Duke’s soothsayer; never underestimate the fickle finger of fate, or its sense of humour!

The papal Banner - Bayeux Tapestry

Moving hesitantly inland from the landing site at Pevensey, William built a fortification at Hastings. From here his forces raided the surrounding countryside both for supplies, with an eye to his extended supply lines, and also knowing full well the area were part of the Godwinsson lands. William needed a decisive victory as soon as possible. Likewise, Harold, no doubt buoyed by his victory in the north, and angered by the Norman pillaging, wished to grab destiny with both hands.

 Arriving in London on the 6th October Harold gave himself a week to gather his forces. True Duke William had been campaigning most of his life, but Harold was also a seasoned warrior and very able commander, and he gathered intelligence of the Norman position. On the 11th October, yet with only half his available forces he advanced across the Weald toward William. On Friday 13th the English gathered at the edge of the forest between the villages Whatlington and Crowhurst . The Anglo-Saxon Chronicle  lists the assembly point as the “hoary apple tree” . It has been suggested that Harold initially planned a swift forced march at night to launch a surprise attack against the Norman camp the next day, but his scouts would have reported that William knew of his presence and was advancing towards him. Even with the advantage of surprise lost, Harold had chosen an excellent defensive position, below Caldbec Hill. At  9am on 14th October the battle began at Senlac Ridge, as the Normans organised in the valley Harold’s shield wall took shape across the ridge, their ranks 700 yards long. In the centre Harold unfurled his standards , the wyvern of Wessex and his personal banner of the fighting man.

Map of the battle from

Under William’s papal banner the Normans advanced. The archers got within range and emptied their quivers at the English line. But this volley had little effect. They were shooting uphill so most arrows either were impaled on shields or passed over the English lines. Following this the Norman infantry struggled up the slope. The rise was some 50 feet from the brook in the valley bottom and they were met with a hail of missiles from the English, including spears, throwing axes and even rocks. William threw his knights forward, alarmed at the lack of progress achieved by the first wave.

The Norman first wave attacks the English  shieldwall -

It was on the shallow western end of the ridge that the Bretons arrived at the English lines before the Normans and Flemish. It was an uncoordinated effort that met an intact English line. They were met with missiles and were unable to get close to the English without risking their mounts. The Breton wing fell back leaving the Norman left flank exposed to missiles. The Norman and Flemish wings met the same dreadful site of intact English lines after struggling up the slope through hurled spears and rocks. The whole Norman line now waivered, on the verge of a general retreat. William's half brother Bishop Odo desperately tried to rally the fleeing Bretons.

On the western edge of the Ridge the English fyrdmen saw the Bretons in full retreat, from their perspective the whole Norman line looked on the verge of defeat; breaking ranks, they set off down the hill in pursuit. In the centre William saw the unfolding events, he had to act fast to stem the rout. He took his Norman cavalry and attacked the advancing English. How quickly in the fog of battle are the tables turned. The English fyrdmen now found themselves stranded in the open, unable to get back up the hill, and made a last desperate stand on a small hillock near the valley floor. The event is shown in the Bayeaux Tapestry. That they aren’t huscarls is shown by the lack of hauberks. The Bretons rallied and the stranded warriors in the hillock were slaughtered to a man. In the space of an hour and a half, with a momentary lack of discipline, Harold’s advantage and seemingly early victory had been snatched away from him. Harold’s previously impregnable line had to stretch thinner to compensate for his losses. Both sides paused to regroup.
The fyrd trapped on the hillock - Bayeux tapestry

Duke William shows his men he's alive - Bayeux tapestry
With the archers restocked with arrows the Norman second wave began. Learning from the previous failure William urged a slower advance so the infantry and cavalry could support each other. This second attack went on for 2 blood-soaked hours as the attack against the shield wall became a series of smaller battles along its length.  By 1pm the dead would be piled on both sides yet the shield wall held true. Both the Flemish and Bretons were sent back reeling in disarray. Again English Fyrdmen foolishly gave chase to be caught in the open. Norman chroniclers say these were feigned retreats but with the discipline (or lack of) at the time this is highly unlikely. With the low morale of these troops a feigned retreat could easily become a rout. It is said that William himself fought in this second phase and had 3 horses killed under him. he had to show his face when a rumour began among his men that he had been slain.

Again the Normans withdrew and took stock. William must have been becoming increasingly desperate; the English shield wall held and his men would be exhausted. The slopes would be churned up by hooves and slick with blood. He knew his men had one more attack in them. Defeat and retreat would almost certainly cost William his life. The next attack had to succeed. A different tack was required. He had to combine his archers and his knights and foot soldiers more effectively with his whole force attacking the ridge at the same time.

Bishop Odo in action against the shield wall - notice his weapon is a club so as not to sinfully draw blood - from

At 3 o’clock The Normans advanced slowly with horse and foot solders together, the archers in the rear.  The Norman advance drew out the usual English volley, but it was impatient and launched at a longer, less effective distance. As the Normans closed with the English the archers fired upwards, high into the air so the arrows would fall on the English line and draw their  shields up. With the shower of arrows causing a distraction the hand to hand combat began. An hour into the third wave and the turning point was being achieved. Gaps began to appear in the English line and the Normans forced themselves in, breaking the shield wall into sections.  With both English flanks now weakened and the whole ridge no longer defensible, William ordered the Flemish and Bretons to attack from both sides. They broke through, shattering the English position that had held solid across the ridge all day.

For Harold now the battle was lost, it was all about now life, death and honour. There was fighting
Harold is slain - Bayeux Tapestry
along the whole ridge. It was at this point that Harold’s brothers Leofwine and Gyrth fell, defending their king and brother judging by their proximity to Harold. The fyrd attempted to escape and melt into the forest but the huscarls, true to their oaths, remained fighting around Harold and his standards. As the light faded around 5.30pm Harold fell, probably not by an arrow to the eye, as interrupted in error from the tapestry, but from a sword blow and then “covered in deadly wounds”, according to William of Jumieges. Fired by the events of the day and their sense of religious righteousness Flemish knights hacked at the fallen king, grievously mutilating him. It was said only Harold's handfast wife, Edith Swanneck, could recognise her lover's body, so terrible were the wounds inflicted on the slain Harold.

The last stand -  from

With the King and his brothers slain there was nothing more to fight for, a few remaining huscarls fought doggedly to the last while others fled to the forest  pursued by the vengeful Norman cavalry to prevent any regrouping. It might well have been the case that there were still late arrivals of fyrdmen appearing on the battle’s periphery. That some English still had the spirit to fight was shown when a band of Norman knights were ambushed and slaughtered at a place called Malfosse (evil ditch), named as such after the event. Yet despite the valour of the defenders at Malfosse the battle was over, and decisively so; England would never be the same again, of the three contenders for the throne only the Norman Duke William remained.

Harold's bones are lost to history, there would be no shrine to the fallen king. It was said that he was either buried without ceremony on unconsecrated ground (as he was ex communicated), or was perhaps thrown into the sea. Another tale reports him as being buried under a cairn on a headland, as if ironically watching for invaders. William refused the pleading of Harold's mother, Gytha Thorkilsdottir, to yield to her the slain kings remains, even in exchange for Harold's weight in gold. Even in death perhaps, he revealed the precariousness of William's position, that of an invader, a foreign usurper. Yet a new regime would now held sway, and history would be written by them, as victors are wont to do.


The Battle of Hastings - Peter Poyntz Wright - (1986)
The Bayeux Tapestry
Anglo-Saxon Chronicle
William of Jumieges - Deeds of the Dukes of the Normans
Frank Barlow - The Feudal Kingdom of England 1042-1216 (1988)

Rob Bayliss is a reviewer at The Review and fantasy author. Information on his writing projects can be found at Flint & Steel, Fire & Shadow.

Thursday, October 13, 2016

Just for a change - Diana listens to! Diana listens to Paula Lofting and Regia Anglorum: Building a shield wall

Photos c/o Rich Price

For over a quarter of a century, Regia Anglorum has been re-creating history for audiences around the world. They are skilled, properly equipped and highly motivated men and women of all ages who bring the dull and dead past back to brilliant life, celebrating the very best of life in the round a thousand years ago! They have a fleet of seven full-scale ship replicas. They have a secluded permanent site with a reconstruction of an old mead hall*. The best re-enactment society in the world

– probably...

and here at The Review, we are all fortunate to feel that we have one very special Regia Anglorum member as a friend, the 'Boss Lady' of the group,
Paula Lofting .

Regia Anglorum is a founder member of the
National Association of Re-enactment Societies (NAReS) and were sponsored by DHH Literary to speak about the formation of the shield wall at the Historical Novel Society conference at Oxford this year (HNS16).

The talk was by four colourful characters in full mediaeval garb,
An anonymous Mediaeval warrior showing the leg garb of the time.
Paula Lofting, Roland Williamson, Mike Harris and young thegn, Tom Barrett. I wouldn't have wanted to get on the wrong side  of any of them, (particularly that Paula Lofting!)

Shields seem to have been used universally by all warriors. From the first to the tenth century round shields seem to have been normal, being either flat or 'watchglass' shaped in cross-section. They are always shown with a boss and often have wooden or metal bands on the back to strengthen them. All the examples found have been of planked construction although there is some evidence to suggest a plyed construction would make the 'watchglass' shape easier to make. Some shields were edged with a rim of sewn thick leather or hide to strengthen them whilst others were possibly faced with leather or rawhide. Traditionally, shields were made of linden (Lime) wood although alder and poplar and other woods that do not tend to split may have also been used. 

Round shields seem to have varied in size from around 45 - 120cm (18" - 48") in diameter but the smaller and more manageable 75 - 90cm (30" - 36") is by far the most common.
Typically, a shield should cover your whole torso © Regia Anglorum
The formation of a shield wall (Scildweall or Bordweall in Old English, Skjaldborg in Old Norse) is a military tactic that was common in many cultures in the Pre-Early Modern warfare age. There were many slight variations of this tactic among these cultures, but in general, a shield wall was a "wall of shields" formed by soldiers standing in formation shoulder to shoulder, holding their shields so that they abut or overlap. Each soldier benefits from the protection of their neighbours' shields as well as their own.

In the battles between the
Anglo-Saxons and the Danes in England, most of the Saxon army would have consisted of the Fyrd — a less-experienced militia composed of middle class freemen. The shield-wall tactic suited such soldiers, as it did not require extraordinary skill, being essentially a shoving and fencing match with weapons. The first three ranks of the main wall would have been made up of select warriors, such as Huscarls and Thegns, who carried heavier weapons and consistently wore armour.

Warfare was to a great degree ritualised and a sword is all about symbology. An axe, however, is very good for posing! Imagine the might Huscarl with his axe. A frightening sight, designed to drive terror into the foe.

Despite swords being shiny in modern minds, they were rusty and strong and were soaked in the morning.

The drawback of the shield-wall tactic was that, once breached, the whole affair tended to fall apart rather quickly. Relatively lightly trained fyrdmen gained morale from being shoulder-to-shoulder with their comrades, but often fled once this was compromised. Once the wall was breached, it could prove difficult or impossible to re-establish a defensive line, and panic might well set in among the defenders.

Although the importance of cavalry in the Battle of Hastings
portended the end of the shield-wall tactic, massed shield-walls would continue to be employed right up to the end of the 12th century, especially in areas that were unsuitable for large scale mounted warfare, such as Scotland.

Some of the tactics employed by the English shield wall consisted of round shields together in the form of a 'foulcon', otherwise known as cauldron. This was described in Roman times as the Testudo as it resembled the shell of a tortoise or turtle.
The shield was used to cover the body in close quarter fighting, and to push or bludgeon one's opponent.The arrows coming towards them would be moving at about 60 mph plus, an unheard of speed when the fastest thing most people saw was a galloping horse, the speed of which, in that era, would be about 20 to 25 miles per hour. A sharp spear would travel about 30 mph and of course can be thrown back! although getting the point caught in the shield wastes time and led to the euphemism, the 'spear net'.
The latest type was the narrow, tapering shield (kite shield),  The other type is like a target, round and heavier, with a central iron boss.  Both kinds of shields were used in the Battle of Hastings by the English.
The kite (long or fish-shaped) shield gives your opponent little to strike at © Regia Anglorum

The differences between the two types of shield were greater than just the shape. The kite shield is large almond shaped shield, rounded at the top and curving down to a point at the bottom and it  was cross gripped. It was developed for mounted cavalry and it's dimensions correlate roughly to the space between a horse's neck and it's rider's thigh.  When standing it  ran down the length of the body from neck to ankle, and, in effect, was an extension of body armour. Round shield were generally large and designed for 'bashing' and shield wall tactics  and were centre gripped and usually had a central iron boss.
One of these fierce warriors is left handed. Guess which one!

The Normans rode exceptionally fierce and aggressive war horses, trained in battle and savage with tooth and hoof. The Norman Horse had to be extremely strong and resilient. During the Battle of Hastings, it would have required the rider to remain mounted and vigilant for up to ten hours. This put a tremendous strain on both horse and rider. William had to march his force 10Km north before he even met Harold. The weight of the armour, sword and saddle increased the burden by 30 or 40 kg. The Norman saddle had a high pommel and cantle, similar to a Hungarian Hussar saddle, and the rider had fierce spurs that to our modern sensibilities are very cruel.

Iron stirrups were very heavy and cumbersome

The following pictures will show a shield wall formation and it will be possible to see how effective these would have been.
Photos c/o Rich Price

Photos c/o Rich Price

Picture on the left shows the men forming the Foulcon - Photos c/o Rich Price

Photos c/o Rich Price

Photos c/o Rich Price

The Battle of Hastings in brief.

(If you don't want to know the scores, looks away now.)

Regrettably, in case you do not already know, despite their shield walls and despite having Paula Lofting on their side, England lost the Battle of Hastings in 1066. Here is some actual footage embroidered hastily whilst the battle was in progress by the war correspondents of the day, the ladies of Bayeux - live from the front line.

Oh dear (sad face).


* With regard to the Mead Hall, it was pointed out to the audience at the talk that mead in the Mediaeval period was not a strong liquor as is created from honey today but a beer, a honey beer. To become a distilled product it would have needed anaerobic fermentation, a process not discovered until later.

Written, compiled and plagiarised from the below sources

by Diana Milne  -  letterpress seller extraordinaire - with help and source material from Paula Lofting.

Paula Lofting was born in Middlesex and grew up in South Australia, returning to the country of her birth when she was sixteen. She currently works as a psychiatric nurse as well as writing in her spare time. She now lives in Sussex with two of her three children and is an active member of Regia Anglorum re-enactment society. It was always her ambition to write a novel but found that life lead her on other paths until, in her forties, she began on the journey that has led her to her first book. Sons of the Wolf is Paula's debut novel and the first in a series of books about the Norman conquest of England.
Paula's second book, The Wolf Banner is also now available   and promises to be every bit as good as the first.          


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The Norman Cavalry                                                                                                      
Regia Anglorum 

Many thanks to Rich Price for supplying the photos of the Regia shieldwall in action